Frottage - Touch With The Subconscious

Mon, 06 Jul 2020 10:52:08 +0200

One hundred years ago, the world was facing a new reality. It was two years after the First World War and Dadaism boldly provoked the art scene with its absurd play, criticism of social conventions and denial of traditional art forms. Coincidence, play, absurdity were the main weapons with which the artists wanted to inflict a blow on a society torn by its own contradictions. On the one hand, the tumultuous socio-political development, on the other hand, the peaceful life and stale air of traditional galleries and cultural institutions.

At that time, Max Ernst appeared on the art scene as a self-taught artist from Germany, who, like many other young artists, enlisted in the First World War. This deeply traumatizing environment made him feel that modern times were losing ground and were full of absurdity. The feeling emerged from the subconscious, which supplied him with several difficult-to-define images. His interest in subconscious processes corresponded to Freud's research of conscious and unconscious mind, as the source of many of our actions.

Max Ernst -  The Fugitive

After 1924, Dadaism gradually grew into the surrealist movement with its automatically created drawing without conscious correction. The drawings are full of shapes flowing from the subconsciousness and gradually revealing hints of specific shapes, erotic motifs, and natural forces. Max Ernst, as an artistically untrained but talented and sensitive young man, becomes a pioneer of various forms of Dadaism and Surrealism.

One day in 1925, his subconsciousness forced him to put the paper on the floor of his room and capture by friction the structure of beautiful, washed-out wood. The discovery of frottage has become a technique with great potential. Max is no longer limited by the lack of drawing training. The sources for expressing his subconscious are everywhere around him. Anything that has even a slightly bumpy surface can be transferred to the paper by rubbing with a pencil and thus directly touching the subconscious through the material. By capturing and composing various plant and industrial surfaces, compositions of non-existent animals, countries, or even whole worlds can be created.

Max Ernst -  Little Tables around the Earth

But Max doesn't want to make this world clear. He again immersed in the metaphorical language in the artwork titles to bring other hints, other layers of meaning into the work. He connects his techniques with the world of literature, where he uses old textbooks and engravings as a source of surreal collages that arch back to our subconscious.

Max Ernst - She Keeps Her Secret

It has been a hundred years since these special times. Today, frottage is known in every school. It belongs to the basic equipment of both art buddies and professionals. From Ernst's legacy, less tragic, erotic, and more play, humor and formal beauty remained in it.

After a hundred years, we are experiencing new traumas, new problems. A stream of subconsciousness emerges again through reflections on a pandemic, climate problems, and new challenges for the society. We have new possibilities for capturing the flow of our subconscious. We have digital graphics tools. Many of them are as if behind the glass, they do not allow direct contact with the material. However, there are exceptions – Rebelle is one of them. It is different in the sense that its instruments encourage our memory to remember the beauty of real materials. It wants you to enjoy the pleasure of direct contact with the material in the digital world.

Ľubomír Zabadal - Plačúci / Crying (digital painting made in Rebelle 3)

Unlike traditional frottage, where only surfaces with a distinctive structure can be captured by the pressure of a pencil, Rebelle allows us to use any object around, thus opens up new possibilities for us. All you have to do is to look around your surroundings, take a picture of an interesting object or texture, and place them into Rebelle like a new paper. Using the pencil or pastel tool and a gentle touch of the graphic pen, you can examine how the material is appearing on the surface. Something unexpected can be created by inserting more and more textures and combining them in original ways.

Ľubomír Zabadal - Dirigent / Conductor (digital painting made in Rebelle 3)

It's an adventure similar to when Max Ernst saw and captured a painting on the wooden floor of his apartment almost a hundred years ago!

Ľubomír Zabadal - Cesta / Route (digital painting made in Rebelle 3)

--------------------------------

Author of the text and digital frottage images is Mgr. Ľubomír ZABADAL, PhD. - an expert for traditional art media and assistant professor at Department Of Creative Arts and Art Education at UKF University, Slovakia.



See Comments

Interview with artist: Simon Lovell

Wed, 17 Jun 2020 14:57:52 +0200

Today, let us present to you Simon Lovell - an artist whose delicate watercolor style immediately won our hearts. This experienced Rebelle Featured Artist was kind enough to share insights on how he approaches his creative projects and talks about the importance of "recharging the batteries". 

Simon, you are a skilled and experienced artist active for many fruitful years in the creative industry. Tell us, what are some of the projects you’ve done in the past you are most proud of?

I have had been fortunate enough to work on many projects in the industry over many years. Though the commercial industry is often not as fun, free, and creative as personal work, there have been some great projects. One that stands out to me as enjoyable and I am immensely proud of would be Sea World Australia. I was asked to produce several illustrations of sea-life (whales, dolphins, sea lions, and more) that were then to be designed into T-Shirts and other merchandise. I had free artistic license throughout the whole project, from concept through to application and production. It was a thoroughly enjoyable & rewarding experience.

I also used to work for a company that designed and produced merchandise for the old Warner Bros. Studio stores. Though there are strict ‘licensing’ frameworks one must adhere to when developing licensed Character work, I was able to be very free and creative within those bounds. A series I developed for this group was “Looney Tunes Goes Hollywood” where I illustrated many of the beloved WB characters into classic ‘Hollywood’ situations. Such as Bugs into Boulevard of Broken Dreams, and Daffy into the classic Marylin pose of her skirt blowing up, with Daffy’s feathers doing the same (in classic ‘Looney Tunes’ awkwardness).

That sounds fun! Your watercolor paintings are a combination of great technique, clear focal point and tasteful color balance. What do you believe are the key elements in creating a good painting?

Apart from the two you already mentioned here ‘focal point and color balance’­­, there are several things. Something that stands out as imperative for me would be ‘emotion’. There must, for me, be a strong emotional connection to what I am painting. Even if it is a ‘contracted’ piece; I must find some point of connecting emotionally to what I am doing – otherwise it is pointless. The work will be boring, tedious, and bland and this will certainly come out in the final product. I have scrapped or started over more pieces than I can possibly count because I have missed some point of contact here.

Many may also want a clear picture of where they intend to end up when developing a piece. I tend to only have a vague idea of this. I think in the creative process one must remain flexible. This works together with the emotion I was referring to. Let your ‘feeling’ for the subject, as well as for the medium, drive your direction in the work. There is often an intense beauty in how your medium reacts, moves, or interacts with the substrate most unexpectedly that can completely change an artwork's direction almost instantly. You must be ‘in the moment’ – the medium is a partner in the process.

I also treat my digital work as though I were developing in traditional mediums. I don’t rely too much on the ability to layer, undo, redo, etc. Treating it as traditional work, and using mistakes as surprises and direction changes really helps with a creative process for me. It forces one to become a better artist. I think we should always pursue that as the main objective.

And always listen to music that moves you as you work!

We love how you capture life and movement in your illustrations. On your website, you mention that you find inspiration in nature’s rhythm. We do agree that observing the perpetual motion of life can be an endless well of inspiration. How often do you recommend to ‘charge the batteries’?

As often as you can! Life, people, animals, insects, wind, rain, thunder, ANYTHING at all is always in motion. A simple breeze or gust of wind, and the way a leaf moves in reaction to it.

Textures as well – though static, actually embody some form of movement. Rust is a good example, or rock, they often hold mesmerizing patterns of movement just in what they are. Recharging your batteries doesn’t necessarily mean a trip to the mountains or the beach (though these are preferable if possible). It can simply mean being still and noticing life wherever and whenever. Recognizing the beauty and searching for its particular rhythm and resting with it for a while.

Although you’re a trained traditional artist, digital technologies found their way to your creative process. How did you come across our Rebelle software?

I love technology! It is a problem at times, as I could spend so much on the latest and greatest, but my wife keeps me grounded. But I always keep an eye on what is happening and on new developments. With the advent of portability and robustness of operating systems in various tablets, I found that many developers were coming out with great sketching tools, and being able to sketch and doodle anywhere is very appealing to me. I was always wanting someone to develop some software that could actually emulate watercolors to at least a believable level. Many boasted they did, but all fell so far short that it was ridiculous. Though I work primarily digitally at present, I actually really dislike work that looks “digital”. Too ‘perfect’, an obvious ‘fakeness’ to it – kind of contrived.

Then in my searching, I came across Rebelle. I thought it was just going to be another imitation of what was already out there but downloaded it anyway. I didn’t bother reading too much on instructions and just went at it. I was blown away with the watercolor and paper interactions. I must have just played with the drip engine for 3 hours or more. Then I was SOLD! I delved into more of the instructions on the software and became more and more enthralled with the program. There really is no other software that as closely emulates the real world of watercolor.

What is its #1 feature that helps you replicate the traditional media on your digital canvas?

As I mentioned above, replicating traditional media is as much about mindset as it is about the platform one is developing on. Striving to NOT succumb to the eases of undoing, and relying on filters, color adjusting tools, etc. but to treat it as you would a pencil on real paper. Outside of this, Rebelle’s papers, and media interactions with it are paramount to help replicate real-world looks and feels. Especially the drip engine, and blow tools. Also, when blending, the ability for blenders to also interact with the paper – as it would – and not simply smudge smoothly, provides even more levels of believability.

You have a beautiful collection of artworks on your website that are available for sale. Which paintings are your best-sellers?

Yes, a lot of my works are for sale at https://www.simonlovellart.com.

Likely, my best sellers are “The Hunter”, “Sedulous” and “Fall Bison”.

Can you reveal what projects are you working on at the moment? What are you up to? 

I am currently working on a few more wildlife works that have been commissioned. Outside of those, I am beginning to do some semi-abstracted landscape type pieces mostly experimental at present.

I did get some new hardware also. I really needed to be able to run Rebelle wherever I was at, and with the same efficiency as I did on my studio computer. Although the price tag is really quite exorbitant, I purchased the Acer ConceptD 9. It is an amazing machine, though “portable” may not fit everyone’s definition, I absolutely love it. And most importantly I can run Rebelle on it as satisfactorily I can on a robust desktop machine!

Thank you for your time, Simon! We enjoyed it immensely. 

-------

Visit Simon’s portfolio website and make sure to follow his recent works on his Instagram and Facebook



See Comments

Amberlight 2.1.5 and Inspirit 1.1.5 Updates with Community Account Registration

Fri, 05 Jun 2020 10:59:42 +0200

To unify the registration system for all our software, we have released new updates of Amberlight 2 and Inspirit. These updates allow you to register using your Community account. So from now on, you can use all your favorite software with one account.


If you've been with us for some time, you probably remember the new registration system that came with Rebelle 3 where we decided to start to use user account registration instead of registration keys. Each user has its own Community login that applies both to our website and the software. This new system is beneficial for various reasons:

  • You don't need 4 different registration keys, the same password can be used for each Escape Motions software;
  • Community account is the easiest way to access the download links to your purchased software and assets;
  • You can use your custom username and password;
  • The passwords are encrypted in our database according to the latest data protection regulations;
  • It is easier to manage passwords for us as a developer.

The system has already been implemented to Rebelle 3 and Flame Painter 4. Now both Amberlight 2 and Inspirit have joined!

Here are all the important details you need to know:

For all existing Amberlight 2 and Inspirit users

A) If you don't want to download the latest updates, that is completely OK. You can keep using the versions you have with the registration keys. Just bear in mind, the next versions will use the new registration system so if you decide to upgrade, you will be asked to create an account.

B) If you already have a Community account, just log in
https://www.escapemotions.com/community/ and download the latest updates from your profile. After you download and install, register the new updates with your account (Email or Username, and Password).

C) If you don't have a Community account and want the latest updates, follow these instructions:

  • Enter your registration details (email address and registration key) for Amberlight 2 on this Download page, for Inspirit on this Download page. Click "Download now".
  • Here download the latest update and create your account - enter your Username and Password. Click “Confirm”.
  • Done! Go and register Amberlight 2.1.5 and Inspirit 1.1.5 with your account.

For future Amberlight 2 and Inspirit users

If you purchase Amberlight 2 and Inspirit, you will be asked to create a Community account after the purchase. If you already have an account, you will be asked to log in to confirm your identity.

New Community menu

The new Community menu has been added to the top menu bar of Amberlight 2.1.5 - you can now access Gallery, Forum, or your Account directly from the application. Moreover, you can easily publish your amazing artworks from this menu too.

If you need any assistance just let us know at support@escapemotions.com.
We’re here to help you :)
Your Escape Motions Team



See Comments



Subscribe for News

Subscribe to stay notified about the latest news, releases and discount offers.

2020
06 Jul
17 Jun
05 Jun
28 May
23 Apr
31 Mar
16 Mar
06 Feb
30 Jan
2019
20 Dec
28 Nov
25 Nov
15 Nov
14 Nov
30 Sep
17 Sep
22 Aug
16 Aug
09 Aug
11 Jul
07 Jun
30 May
28 May
23 May
12 Apr
05 Apr
15 Mar
27 Feb
20 Feb
30 Jan
23 Jan
2018
21 Dec
10 Dec
23 Nov
02 Nov
26 Oct
26 Sep
31 Aug
10 Aug
24 Jul
29 Jun
17 May
01 May
27 Apr
19 Apr
13 Apr
16 Mar
02 Mar
09 Feb
02 Feb
24 Jan
12 Jan
2017
21 Dec
12 Dec
10 Nov
06 Oct
08 Sep
29 Aug
19 Jul
30 Jun
28 Jun
04 May
25 Apr
20 Apr
18 Apr
12 Apr
28 Mar
01 Mar
17 Feb
26 Jan
17 Jan
2016
22 Dec
22 Nov
19 Oct
06 Oct
04 Oct
14 Sep
06 Sep
15 Jul
13 Jul
05 Jul
09 Jun
24 May
20 May
05 May
29 Apr
12 Apr
07 Apr
15 Mar
08 Mar
03 Mar
01 Mar
25 Feb
17 Feb
10 Feb
27 Jan
18 Jan
2015
22 Dec
18 Dec
28 Nov
28 Aug
22 Jul
23 Jun
28 May
19 May
24 Apr
16 Apr
09 Apr
26 Mar
24 Mar
10 Mar
05 Mar
22 Jan
2014
19 Dec
11 Dec
03 Dec
06 Nov
22 Oct
30 Jul
22 Jul
03 Jun
28 May
29 Apr
23 Apr
15 Apr
08 Apr
02 Apr
19 Mar
13 Jan
07 Jan
2013
25 Dec
20 Dec
10 Dec
07 Dec
21 Nov
08 Nov
06 Nov
30 Oct
15 Oct
16 Sep
09 Sep
03 Sep
08 Aug
17 Jun
07 Jun
05 Jun
25 May
22 May
19 May
16 May
15 May
14 May
12 May
10 May
04 May
09 Apr